JEANCHARLES PIGEAU

Pigeau’s work, from his mirrors in Suite pour ciel seul on, has rightly been compared to the
American Land Art movement. The juxtaposition of sculpture and vast natural spaces no
doubt corresponds to a shared desire to escape from the constraints of the confined gallery
space. The correspondence is only partial, however. Often produced using important
technical resources, the in situ interventions of Walter De Maria or Michael Heizer’s large
land art figures were originally conceived as a physical relation of scale. Pigeau instead
attempts to explore a symbolic relation to nature. He is looking for a way to include in his
work the forces deployed by the universe, which for the most part elude our mastery and
our scope: light and wind, mountain and horizon. Such objects are energies; they are
literally off the scale, in-commensurable with the size of the artifacts an artist can produce.
The artist is not trying to compete with them, then, but to understand them and to bring
them into the esthetic process.